By Philip Fryer, Tenor

I chose this title to confuse: no such person exists. The friends I have made in the Academy over the last 27 years have been the most varied and interesting of people. Singing with instrumentalists, soloists and conductors of the Academy would be reward enough, but for many of us, the Chorus has provided spouses, god-parents for our children, drinking companions and, supposedly, fellow tee-totallers.

The excitement of that first rehearsal in December 1974 can be recreated for me every time we meet. To prepare music by Bach and Handel for Grammy consideration with people who are good fun, to be performed with strings, brass, woodwind, percussion, of Academy status is an addictive pursuit. During coffee breaks, and afterwards, the conversation is as far-reaching as the occupations of the singers: some are full-time musicians, others are specialist lawyers. I have sung next to the now MP for Salisbury, Robert Key, Oz Clarke before he abandoned music for wine writing, and the wonderful late Margaret Peirson, Chair of the last government's Pensions board, who achieved more from a wheel-chair than most of us dream possible when able-bodied. For myself, Academy membership has outlasted three professions, from Head of English through Financial Consultant to, strangely for a singer, Harbour Master!

The venues we have visited come up to a very acceptable standard: after our start in industrial Leverkusen in 1975, it has got better and better. To enjoy yourself is important, but when you are in Carnegie Hall for Mozart's 200th, in Seville with Paco Pena in 1992 for Expo, Hong Kong to prepare for the hamdover in 1997, or the Greek amphitheatre in Ephesus, the snese of place adds an enormous frisson to the performance. Not many London choirs, I would guess, performed in World Trade Centre, as we did, and this will remain a poignant memory for those of us who did.

From our Choral Directors to date, Laszlo Heltay, Joseph Cullen and currently Johan Duijck, we have learned through discipline and meticulous preparation to be proud of our craft. The good humour and unfailing encouragement of Sir Neville Marriner have provided the continuity. Many of us would like a slightly more busy schedule with the Academy, but the small groups which have formed from the Academy to entertain people in the gaps between official Academy events are vitally important in cementing friendships and performing relationships.

Ultimately, we are no more than a list of people who want to sing. The wonder of it lies in the way we sing, and the challenge involved in doing this provides the buzz: meeting Neville's standards could be a daunting prospect if it weren't for the enjoyment required to get there. Above all, the Academy has taught me that a sense of humour and fun are vital for a good performance, and the example for this has always come from the top.

Concert promoters wishing to book the Academy Chorus, a chamber choir ranging in size from 16 to 60, should contact Jenny Lomas - jennylomas@asmf.org